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The film "Don't Change Your Husband" was a romantic comedy that caught my eye and kept me interested. Being a female i'm more attracted to romantic films, that was apart of my interest in this film. Even though this film was a silent film it gave so much meaning and you could really understand what each character was feeling and how what their actions were. The actors played a really good part on their facial expressions and their body language. I wasn't sure how i was going to react to the silent film era but with each character really giving meaning through their facial and body expressions, it really pulled me in.

I also thought it was similar to todays life, even though it was produced in 1919, you could relate it to todays time, most women want the good looking man and in the end it doesn't turn out to be what you expected and you want what you did have at one point.

Don't Change Your Husband (1919)

** (out of 4)

Second in a semi-trilogy following Old Wives for New, this film tells the story of a husband (Elliott Dexter) who eats onions (?!?!?), neglects his wife (Gloria Swanson) and takes her for granted. The wife gets fed up after he forgets their anniversary so she divorces him for a better looking man (Lew Cody) who she thinks will treat her right but we all know he's going to turn out to be a jerk. This is a rather strange mix of light comedy and melodrama but the two don't mix well together. Whereas Old Wives for New was a pretty strong comment on society, this film just comes off as a tamed down version with the sexes switched. Perhaps my sense of humor just isn't where it should be but the constant running joke of the husband eating onions and then trying to kiss his wife just got boring to me. Perhaps a female would find these jokes funnier but I doubt it. Another problem I had was that the wife really wasn't that sympathetic. I honestly can't say that I cared for her in any way, shape or form and the strange thing is that the husband actually gets the sympathy. With that in mind, it's rather hard for us to want to see the husband take her back after the way she's treated him. This was apparently the film that finally launched Swanson as a star but I really didn't see anything here too special. Her performance here certainly wasn't in the same league as a Gish or Pickford but even if we don't put her up to those standards I still found the performance rather lacking. I wasn't impressed with Cody either as the playboy as he too come off rather stiff and wooden. Dexter on the other hand delivered a fine performance and he's the main reason to watch this film. I wouldn't say his comic timing was overly impressive but he did a fine job in the more dramatic moments. There are a couple interesting sequences here with a couple appearing as fantasy sequences where the wife dreams of what her life will be like with the playboy. The feeding of grapes is something to see but there are very few moments like this one.

I find early De Mille films to be wildly inconsistent ranging from astonishing (The Cheat) to terrible (The Squaw Man). Thus I wasn't expecting much, but ending up really enjoying this one. I hadn't seen many early Gloria Swanson silents, so it was interesting to see her in the picture that really made her. It's easy to see the appeal even if she doesn't get much to do, De Mille just loads her up in fancy clothes and films her. Fortunately she has the charisma to make her stand out.

Here she plays Leila Porter, the wife of successful but disinterested banker and onion-eater James Denby Porter (Elliott Dexter). Feeling neglected by her husband, Leila leaves him for the charming Schuyler Van Sutphen (Lew Cody), only to discover that her former husband's onion breath is far less of a problem than having an unfaithful and incompetent roustabout for a husband. James undergoes a transformation, including giving up his beloved onions, and is determined to win Leila back. It all makes for a fun and occasionally astute exploration of marital woes. Its strength is that it maintains its light touch rather than endeavoring towards heavy-handedness, and at 80 minutes it breezes by.

Gloria Swanson (as Leila Porter) is an understandably bored wife. Workaholic husband Elliott Dexter (as James Denby Porter) has "lost his romance" along with his waistline; he also smokes cigars in bed, eats onions, and snores. He can barely remember his own anniversary - which is attended by caddish Lew Cody (as Schuyler Van Sutphen); the younger man eyes Ms. Swanson's voluptuous figure, and flirts unabashedly. Soon, Swanson is drawn to Mr. Cody. Then, Mr. Dexter decides to try and get her back. Who will win?

The three principals are fine, with Swanson most impressive in the pivotal role as the woman torn. Julia Faye grabs supporting honors as Cody's other interest, "Toodles"; off-screen, she tempted director Cecil B. DeMille. The DeMille touch is evident; especially in an imaginary sequence wherein Cody promises Swanson... "Pleasure… Wealth… Love…"

******* Don't Change Your Husband (1/26/19) Cecil B. DeMille ~ Gloria Swanson, Elliott Dexter, Lew Cody

In his autobiography Cecil B. DeMille did not spend time on Don't Change Your Husband. Except to say that this was his first film with a new discovery Gloria Swanson. He then went on for a couple of pages talking about his friendship over the years with her.

Don't Change Your Husband was one of DeMille's silent comedies with a Victorian moral to every one. Here Swanson is a bored wife married to comfortable and stuffy DeMille regular Elliott Dexter. He barely notices the wife any more, keeping his head buried in the newspaper in the morning. He also has a nasty habit of eating raw onions and that will kill romance like nothing else will.

But he's provided for Swanson well including a nice set of jewelry and even though Dorothy Parker hadn't said it yet, diamonds are a girl's best friend.

One day a real Snidely Whiplash type villain Lew Cody starts putting the moves on Swanson. She divorces Dexter and marries Cody. But Cody just wants her jewels for business and to shower on another and badder girl Julia Faye.

DeMille was a child of the Victorian era and this film ends just about as the title suggests. The title itself really gives it all away.

Julia Faye who was one of DeMille's mistresses appeared in most of his feature films right up to the second Ten Commandments. Another was Jeanie MacPherson who was an actress as well as a screenwriter. She did the script for this and many other DeMille films. Lastly there was Gladys Rosson who was his private secretary and on every set right up to The Greatest Show On Earth. He had a regular harem going, but all these women even after the relationship was over were well taken care of work wise.

In fact Faye has one of the more meatier parts in her career as the other woman in Don't Change Your Husband. If this was sound one can only imagine the dialog between Swanson and Faye.

Don't Change Your Husband was the beginning of a fine collaboration between a great director and great star.